14th Century Art in EuropeStudent Slides

• 1. 17-1 (Tabernacle) Eeman• 2. 17-13 (Nativity with Prophets Isaiah and Ezekiel) Ben• 3. 17-16 (Pages with Betrayal and Arrest of Christ/

Annunciation/ Book of hours) Mollie• 4. 17-18 (Attack on the Castle of Love) Priya• 5. 17-20 (Exeter Cathedral) Grace• 6. 17-21 (Church of the Holy Cross) Tori• 7. 17-24 (Saint Luke) Aliyah• 8. 17-25 (Beautiful Virgin and Child) Shoba

Tabernacle: Madonna and Child• Tabernacle: Andrea Orcagna, Orsanmichele,

Florence• 1355-1359• Marble, mosaic, gold, lapis lazuli• Commissioned by Confraternity of Orsanmichele:

charitable society which honored the image of the Madonna and Child and gave to needy people

• Created “tour-de-force of architectural sculpture”• Base has sculpted saints on pedestal against piers,

and reliefs of Madonna’s life at base

• Painting: Bernardo Daddi, 1346-7, tempera and gold on wood panel

• Second replacement of image of Madonna and Child– Original might have been burned in fire of 1304– First replacement=also lost

• Image in painted believed to have healing powers • Subjects revealed by angels drawing curtains back

Nativity with Prophets Isaiah and Ezekiel

• Panel from the Maesta

• Currently located in Washington DC

• Depicts Mary, a midwife, Jesus, and Prophets Isaiah and Ezekiel

• Follows Western Style of Nativity in a shed

• Rejoicing angels fill sky behind shed

• Shepherd and Sheep add realism

• Light, intense colors, and calligraphic linear quality similar to Gothic manuscripts

• Defined space in shed shows move towards more realistic depictionsof people and their world

• Shows the shift towards realistic depictions during 14th and 15th centuries

The Nativity with the Prophets Isaiah and Ezekiel1311 CEtempera on single paneloverall (including original frame): 48 x 87 cm (18 7/8 x 34 1/4 in.)

Pages with the Betrayal and Arrest of Christ and Annunciation c. 1325-28

-Betrayal & arrest on the left-Annunciation on the right-From the Book of Hours-Grisaille and color on vellum-Grisaille technique- monochromatic in shades of gray with faint touches of color -Queen Jeanne is seen in the Annunciation, kneeling before a lectern and reading (perhaps from her Book of Hours)-The inclusion of the patron in the prayer within a scene conveyed the idea that the scenes were visions inspired by meditation rather than records of historical events-Mary is shown receiving the archangel Gabriel while rejoicing angels look on-In the betrayal, Judas Iscariot embraces Jesus, identifying him to the Roman soldiers-This sets in motion the events that lead to the Crucifixion-St. Peter is shown defending Jesus, he raises his sword and slices off the ear of the high priest’s servant, Malchus-On the bottom it shows knights riding goats and jousting

17-18 Attack on the Castle of Love, Lid of a box. Paris c. 1330-50. Ivory ox with iron mounts, panel 11.5 x 24.6 cm The Walters Art Museum, Baltimore

• Don’t know what was kept in the box

• Whole thing is made out of Ivory!• Boxes similar to these existed for

personal items like boxes, mirrors, and combs w/ secular scenes in the panels inspired by popular literature and folktales

• This one could be a gift box from a lover

• In its ivory panels, the God of Love shoots his arrows; knights and ladies throw flowers as missiles and joust with flowers

• A lot of detail in the panels

• A tournament takes place in front of the actual castle ; Castle of Love

• Once a mock battle, designed to keep nights fit for war became a lovers combat

• In the center panel, women watch jousting knights charge to the blare of heralds trumpets

• Knights use crossbows and a catapult to hurl roses at the castle

• God of love helps the women by aiming his arrows at the attackers

• The action concludes in the scene on the right where the tournament’s victor and his lady love meet in playful joust of their own

More clear photo…

Exeter Cathedral

Exeter, England 14th Century Slide by: Grace Leyden

• Designed by Thomas of Witney • Most complete/decorated style building• Christian Church• Includes stone colonnettes, moldings, and vault ribs• Diamond-shaped piers rise massed molding that make

the arcade seem to ripple• 4 part vault, with intersecting cross-ribs, with additional

unique ribs called tiercerons to create a richer linear pattern

• Bosses cover intersections where ribs meet• Large clerestory windows with bartracery mullions

illuminate the nave• Perpendicular style made of yellow sandstone, marble,

and white French stone• Nave roofed but not vaulted • Heralds the renaissance style in decorative scheme• Gothic perpendicular style became England’s national

style

Church of the Holy Cross 14th century, Schwäbisch Gmünd, Germany. Stone. Begun by Henry Parler.

• Henry Parler was an architect who started construction of the church

• First grand hall church in Southern Germany• Henry Parler’s son, Peter, designed the choir

– Triple aisled form, enlarged by a ring of deep chapels between buttresses of the choir

– Unity of the entire space enhanced by a complex net vault- web of ribs created by eliminating transverse ribs and ridge ribs

• Particularly outstanding are the two choir portals with their wealth of stone carvings– Sumptuously furnished choir portals depicting the Passion

of Christ (north side) and the World Court (south side)• Like other structures during this time, this church

demonstrates how architects are able to still follow the Gothic style, while also deviating into their own styles at the same time. Hence many new features appeared in churches, such as the net vault in this particular church.

• Similar to Exeter Cathedral in terms of innovative stylistic approaches, particularly on the ceiling

Saint LukePaint and gold on panelMade in 1360-1364Made by Master Theodoric, head of the Brotherhood of St. LukeIn the Holy Cross Chapel near PragueDone in Theodoric’s “Beautiful Style” of painting/drawing saints large to emphasize their size and power

Large hands and heads and soft drapery are characteristics of this style

The ox in the upper corner is the symbol for St. Luke

Saint Luke Cont.

It is thought that the painting is a self portrait of St. Luke, since it’s uncharacteristic that the Saint looks out at the viewer.

Compared to other 14th and 15th century paintings, this one features a heavier body, which is new, but a familiar and fairly simplistic figure.

Culturally, this painting was the usual biblical piece, commissioned to be put in the then newly built Holy Cross Chapel.

Virgin and Child from the Sainte-Chapelle• The Virgin and Child from the Sainte-Chapelle is an ivory

sculpture probably created in the 1260s• represents the pinnacle of Gothic art, and the late

medieval ideal of beauty• The piece is 41 cm tall (16 inches)• History: After a relative shortage of ivory in Europe during the

11th and 12th centuries, the material once again became in abundance with new trade opening up on the Atlantic ports, particularly those of Normandy. The ivory workshops of Paris were the most admired ones, and the Virgin and Child must have originated from one of these.

• It is known to have been in the possession of the Sainte-Chapelle by the late 1270s

• Now one can visit this piece in the Louve in Paris• The Virgin Mary is portrayed as a young and slender woman; in

appearance representative of the aristocracy of the age. Her hip is slightly protruded – giving the figure an S-shape• On her left arm she is resting the baby Jesus. Her robe, with

a belt, is almost entirely covered by a coat, all of which is finely decorated with gold

• I like this piece because of how of grand it seems decpite the size. The medium of ivory and gold serve to show the importance of the piece.